Tuesday, 23 April 2013
Wednesday, 13 March 2013
The Commissioning Process
When someone submits a script, they will recieve acknowledgement of their proposal within one week, The Commissioning editor will either reject or progress proposals for further consideration withing 6 weeks of recieving it.
Proposals may be provided with funded development, in which case the timetable to commission will be subject to negotiation between the external supplier and the BBC and determined by the development contract. In other istances the final decision will be made no later than 20 weeks of recieving the proposal and a successful proposal will be given approval by the relevant Commissiong Editor. They is a chance projects may be held over in exceptional circumstances but only with the formal agreement of the supplier.
Code of Practice:
In line with the provisions of the BBC Agreement it includes details of how the following issues will be dealt with:
A. The timetable for the negotiations of the commissioning agreement
B. The rights that are required together with the payment for, duration and exclusivity of those rights
C. The arrangements for reviewing, monitoring and ensuring compliance with the Code under the auspices of OFCOM.
D. The provisions for resolving any disputes arising in respect of the Code.
The effective operation of this Code depends upon both the BBC and independent producers which it commissions being reasonable in their dealings with one another, with both parties abiding by the principles contained in the Code and undertaking to operate them in good faith.
Diversity:
The BBC is committed to embracing diversity so any proposal you make should include a paragraph explaining how the programme would fulfil there diversity commitment to reflect fully the licence fee paying public.
Disability Discrimination Act:
If your proposal includes contributors or working before a live audience then it should also include details of how you will meet your obligations under the Disability Discrimination Act 1995. The production handbook and BBC guide to the disability act 1995 lays out the BBC's approach to the DDA
Health & Safety:
It is the responsibility of every production team to implement all necessary health and safety measures required during the course of any project. If any health and safety issues or concerns have occurred on previous projects commissioned by the BBC from your company, you will be required to include details of how such issues or concerns have been addressed, as part of any subsequent programme proposal submitted by your company.
Proposals may be provided with funded development, in which case the timetable to commission will be subject to negotiation between the external supplier and the BBC and determined by the development contract. In other istances the final decision will be made no later than 20 weeks of recieving the proposal and a successful proposal will be given approval by the relevant Commissiong Editor. They is a chance projects may be held over in exceptional circumstances but only with the formal agreement of the supplier.
Code of Practice:
In line with the provisions of the BBC Agreement it includes details of how the following issues will be dealt with:
A. The timetable for the negotiations of the commissioning agreement
B. The rights that are required together with the payment for, duration and exclusivity of those rights
C. The arrangements for reviewing, monitoring and ensuring compliance with the Code under the auspices of OFCOM.
D. The provisions for resolving any disputes arising in respect of the Code.
The effective operation of this Code depends upon both the BBC and independent producers which it commissions being reasonable in their dealings with one another, with both parties abiding by the principles contained in the Code and undertaking to operate them in good faith.
Diversity:
The BBC is committed to embracing diversity so any proposal you make should include a paragraph explaining how the programme would fulfil there diversity commitment to reflect fully the licence fee paying public.
Disability Discrimination Act:
If your proposal includes contributors or working before a live audience then it should also include details of how you will meet your obligations under the Disability Discrimination Act 1995. The production handbook and BBC guide to the disability act 1995 lays out the BBC's approach to the DDA
Health & Safety:
It is the responsibility of every production team to implement all necessary health and safety measures required during the course of any project. If any health and safety issues or concerns have occurred on previous projects commissioned by the BBC from your company, you will be required to include details of how such issues or concerns have been addressed, as part of any subsequent programme proposal submitted by your company.
Wednesday, 6 March 2013
Childrens TV
Childrens TV:
Target Audience for CBBC -
This is aimed at primary school children aged 6-12 years. They want to give there audience multi-platform content which is innovative, challenging and infectious as well as reflecting there lives
This age group seeks out comedy and laughs as well as silliness, simplicity and high jinks. Exaggeration and physical comedy really strike a chord because their verbal skills and reasoning skills are still developing. They also love the unexpected. Variety is key.
Target Audience for CBeebies -
This is aimed at both boys and girls aged 0-6 years. This is a diverse and complex audience; 2 & 3 year olds are very different to 5&6 year olds.
They know the CBeebies audience does not automatically migrate up to CBBC and they think there is an oppurtunity to develop ingenious ideas that would help them make the transition.
Content:
CBeebies offers a mixed genre output; presenting entertainment, drama, comedy and factual content. Content that is specifically produced for a young audience, at a pace and in a style that suits them; and using a range of formats including live action and animation. It features playful content that gives children knowledge.
CBBC has a lot of different types of content running from 7am to 7pm. They offer a distinctive schedule of original drama, comedy, news and factual content that allow children to get involved. The schedule is designed to follow the mood and energy levels of young children. Over the lunch hour they provide programmes for grown ups to co-view with their children and perhaps participate in activities such as make and do and they wind down the children with calming stories before bedtime
Target Audience for CBBC -
This is aimed at primary school children aged 6-12 years. They want to give there audience multi-platform content which is innovative, challenging and infectious as well as reflecting there lives
This age group seeks out comedy and laughs as well as silliness, simplicity and high jinks. Exaggeration and physical comedy really strike a chord because their verbal skills and reasoning skills are still developing. They also love the unexpected. Variety is key.
Target Audience for CBeebies -
This is aimed at both boys and girls aged 0-6 years. This is a diverse and complex audience; 2 & 3 year olds are very different to 5&6 year olds.
They know the CBeebies audience does not automatically migrate up to CBBC and they think there is an oppurtunity to develop ingenious ideas that would help them make the transition.
Content:
CBeebies offers a mixed genre output; presenting entertainment, drama, comedy and factual content. Content that is specifically produced for a young audience, at a pace and in a style that suits them; and using a range of formats including live action and animation. It features playful content that gives children knowledge.
CBBC has a lot of different types of content running from 7am to 7pm. They offer a distinctive schedule of original drama, comedy, news and factual content that allow children to get involved. The schedule is designed to follow the mood and energy levels of young children. Over the lunch hour they provide programmes for grown ups to co-view with their children and perhaps participate in activities such as make and do and they wind down the children with calming stories before bedtime
Tuesday, 29 January 2013
The Big Bang Theory and Lord of Rings Comparison
A hot women moves in next door to 2 geeks.
Writer needs to know the characters very well so they can write good dialogue for that specific character, (the character will also help with there lines because they will know the character extremely well and want them to sound good) and they create the history of the character as they are writing there lines.
After a certain amount of episodes the writers will start to be pressured from fans of the characters.
The writers have to write the script so it interacts with the live fans. They also script the characters so viewers can relate to the show, this would keep them involved.
Writers have to really think about there seasons of the show to try and keep people watching so they will have a specific end that they want to reach to draw the viewers back in for the next series.
Lord of the Rings and The Big Bang Theory are both different in terms of where they have women playing characters in them. Lord of the Rings doesnt really have any main female characters where as The Big Bang Theory has Penny who moves in next door to two geeks, she is one of the big main characters that is in the Big Bang Theory all the way through the series.
Writing and exposition Scene: These are films that move the story along, In the Lord of the Rings some scenes that were in the book were taken out of the film because they didnt move the story along which would make it boring to watch.
Another example of a exposition scene is in Ted where we see the mans back story of when he gets Ted when he was younger, it then skips to 25 years in the future when he has a girlfriend and his own house.
There were four pages of exposition before the film started
The writers of the Lord of the Rings were massive fans of the books and had made it there lifelong ambition to turn the books into film but had to take some of the characters from the book out of the film because they are to complicated to put in. Two key characters that were left out the first movie and these were Glorfindel and Tom Bombadil with substantial parts of the story missing. By the time it got to its third film 'Return of the King' more differences were noticed and critical plot conclusions were reduced or removed.
Writing a scene for a series filmed in front of a live audience is different because you want to get the audience involved they also cant show the audience everything live so have to work the live show to go with the video. If an audience dont laugh at a part they re-write the script because if one audience dont like it then the next one are likely not to either.
Fans can play roles in what happens to their favourite characters because what they want to see happen tends to be scripted into the play.
Actors and Directors will often have talks betweem themselves to decide on scripts because the actors will often disagree with the script because they would feel that the character would not say what is scripted and it would be likely to be changed.
Writer needs to know the characters very well so they can write good dialogue for that specific character, (the character will also help with there lines because they will know the character extremely well and want them to sound good) and they create the history of the character as they are writing there lines.
After a certain amount of episodes the writers will start to be pressured from fans of the characters.
The writers have to write the script so it interacts with the live fans. They also script the characters so viewers can relate to the show, this would keep them involved.
Writers have to really think about there seasons of the show to try and keep people watching so they will have a specific end that they want to reach to draw the viewers back in for the next series.
Lord of the Rings and The Big Bang Theory Comparison
Writing and exposition Scene: These are films that move the story along, In the Lord of the Rings some scenes that were in the book were taken out of the film because they didnt move the story along which would make it boring to watch.
Another example of a exposition scene is in Ted where we see the mans back story of when he gets Ted when he was younger, it then skips to 25 years in the future when he has a girlfriend and his own house.
There were four pages of exposition before the film started
The writers of the Lord of the Rings were massive fans of the books and had made it there lifelong ambition to turn the books into film but had to take some of the characters from the book out of the film because they are to complicated to put in. Two key characters that were left out the first movie and these were Glorfindel and Tom Bombadil with substantial parts of the story missing. By the time it got to its third film 'Return of the King' more differences were noticed and critical plot conclusions were reduced or removed.
Writing a scene for a series filmed in front of a live audience is different because you want to get the audience involved they also cant show the audience everything live so have to work the live show to go with the video. If an audience dont laugh at a part they re-write the script because if one audience dont like it then the next one are likely not to either.
Fans can play roles in what happens to their favourite characters because what they want to see happen tends to be scripted into the play.
Actors and Directors will often have talks betweem themselves to decide on scripts because the actors will often disagree with the script because they would feel that the character would not say what is scripted and it would be likely to be changed.
Tuesday, 15 January 2013
Lord of the Rings - Role of the Writer
Lords of the Rings Screen play Adaption Worksheet
During the video of the adaptation of the Lord of the Rings, take notes on the names of the roles below.
Commissioning Editors (Film and TV) - They are talent scouts for script writers
Producers - They make sure that they can afford what the director wants
Executive Producer - Can put more money into the film, they go to premiers and go on the end credits.
Directors - Person that has overall control of the film.
Script Editors - They keep changing the script constantly usually until the final version (re-write writers version of a script)
Agents (Film and TV) - Someone who represents the actor.
Writers - First people to write the script before it is edited by the script editor.
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